Eich is a new label created to release my collaborations and solo work.
Digital and CD available here https://eich57.bandcamp.com
(Stéphane Garin / Jean-Philippe Gross) – EICH003 – december 2019
For percussions, electronics and recorded sounds.
Recorded between 2017 and 2019 by Benjamin Maumus, Richard Comte, Nils De Deyne and Jean-Philippe Gross, “Dénombrement” regroups a series of connections between percussion and electronics. The placement of percussion in different phonographies, with an intense and sustained mix of live or pre-recorded sonic data results in a highly synchronised merging of sources. Not only does this create a complete ambiguity and a loss of frame of references in an aesthetic that approaches a study, but transcends it, by recordings of the creation of the piece itself, imbuing it with humanity and distance, humour and anecdotes.
Reflex (for serge modular system) – EICH002 – september 2019
“Reflex” is a piece in 13 parts performed on a Serge analog modular synthesizer system between between 2013 and 2018 and edited in 2019.
Beyond the notion of a study, and far from being a demonstration, one could consider Reflex as a collection of sound situations (all with different durations) possible on such a modular synthesizer. For some history, this system dates from 1972, from the West Coast of the United States.
It’s quite some time now that the modular synthesizer has come back into favour, but rare are the opportunities to listen to something apart from just drone or beats. With Jean-Philippe Gross, there is a willingness to get back to the fundamentals of electronic music, without falling into a sort of objective purity of the 1950S. His pieces have an animal side, all the sounds are alive, in their pulsations, their grain, their vibrations and frequencies, their stereophonic movement and of course their dynamics.
A liveliness that knows how to tickle our eardrums and will always surprise us at each new listening.”
Curling – EICH001 – september 2019
“Curling” was composed in February 2018. This electroacoustic piece is based on a recording of a Curling match – a sport shown very late at night on public television channels and played on ice with granite stones, where the aim is to get them as close as possible to a circular target, using a sweeping motion with a brush. This sonic tableau becomes a scene from sound theatre, as mysterious as it is tense and disturbing, placed over an electronic layer which slowly evolves over the duration of the work. The principle is simple, and, as is often the case with a simple and great idea and the know-how that goes with it, it works. We are seized by this tension playing out before us – and apart from a certain number of aficionados – in total ignorance of the unfolding drama!”